Album Info Hide Show Artist: Can Album: Live In Brighton 1975 Released: Europe, 2021 Tracklist: A Brighton 75 Eins B1 Brighton 75 Zwei B2 Brighton 75 Drei C Brighton 75 Vier D Brighton 75 Fnf E Brighton 75 Sechs F Brighton 75 Sieben Info About Buying Vinyl From Our Record Store We are a small independent record store located at 211 High St, Preston in Melbourne, Australia (North of Northcote, between Thornbury & Reservoir) We buy and sell new and used vinyl records – if you have a collection you’d like to sell please click here . We ship Australia wide for a flat rate of $10 for standard shipping or $15 for express post. Free Shipping for orders $150 and over. You can also pick up your order in store, just select Local Pickup at the checkout. We also ship internationally – prices vary depending on weight and location. We ship vinyls in thick, rigid carboard mailers with a crushable zone on either side, and for extra safety we bubble wrap the records. 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You can contact our Melbourne record shop at (03) 9939 3807 or at [email protected] Happy Listening! Description Hide Show Cans Live In Brighton 1975 arrived in December 2021 on Spoon/Mute, and it feels like someone cracked open a time capsule and let the room air back into the music. The lineup is the classic four of Irmin Schmidt, Michael Karoli, Holger Czukay and Jaki Liebezeit, caught in the same year they released Landed and not long after the spectral Soon Over Babaluma. Theres no frontman in sight, no Damo-era singalongs, just four players locked into a moving target. You can hear decades of myth coalescing into something very human and very physical. If youve ever wondered what Can actually did on stage in the mid 70s, this is it. They dont play the hits. They build and dismantle structures in real time. The pieces are presented as long suites named for the city and year, and within each one you hear the band test ideas, circle back to a pulse, then push off again. Liebezeits drumming is the anchor, but he never sits still. He chisels away at micro-variations that keep the floor shifting, so a two-bar figure becomes a living organism. Czukays bass, part engine and part saboteur, nudges the groove into sly detours. Karoli balances lyricism with bite, flicking from glassy lines to jagged sparks. Schmidt paints over everything with keys that can be church, scifi or street market, sometimes all at once. What makes this set sing is the way they blur the border between composed memory and spontaneous invention. You catch hints of motifs from the studio years, but theyre bent out of shape and recontextualised. One section settles into a lean, almost dublike pocket, the room air thick with tape hiss and applause, before the band pivots into something bright and skipping. Later, a thin ribbon of keyboard melody floats across the top while the rhythm section digs in, and Karoli rides the crest with that watery, crying tone he seemed to summon from thin air. Its not just a jam band high. Its a method. The telepathy is audible. Being an audience recording, the sound has a lived-in texture. The restoration work is careful enough to keep the roar of the crowd and the scrape of the venue without smearing the instruments. Drums sit forward, which suits Liebezeits authority, and the bass hums through the room like a second PA. The keys and guitar sometimes ghost out at the edges, then sweep back in when the music swells. If you want clinical separation, look elsewhere. If you want the feeling of standing near the back with a clear line to the stage and a plastic cup in hand, this lands. As a document, Live In Brighton 1975 matters. Can were always boxed in by tidy genre tags they had no use for, but their reputation rests as much on shows like this as on Tago Mago or Ege Bamyasi. The studio records were laboratories for texture and editing. The stage was a broadcast tower. This release shows how they turned collective intuition into form without leaning on verse-chorus muscle memory. It also fills out the picture of their postSuzuki evolution, where voice becomes a fourth instrument rather than a focal point, and rhythm carries the story. For those of us who chase Can vinyl, this one earns its space. The Live In Brighton 1975 vinyl looks and feels like a proper archival piece, and it slots neatly beside the other entries in the series. If youre crate-digging in a Melbourne record store, its the kind of sleeve that stops you midflip. If you buy Can records online, its a safe bet youll hit play and then forget to check your phone for 20 minutes at a time. The set reinforces why Can albums on vinyl reward repeat spins. The surface noise of the world gets folded into the music, which is exactly what this band always did. The performance is also a reminder of how resilient their approach is. Theres momentum without bluster, space without drift, and a rare confidence in understatement. You dont need to be a completist to enjoy it. But if youve ever fallen for the rush of Halleluwah or the shimmering calm of Future Days, this show gives you another vantage point on the same mountain. Its history you can move to, caught in the middle of a working band doing the job, and it makes a strong case that when it comes to vinyl records Australia-wide, few archival releases feel this alive when the needle drops. Product Reviews Hide Show Write a Review